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Watching Bright Star was like having dinner while sitting across from a couple who are completely in love. "Wow, you guys sure like to touch noses. Umm ... waiter? Can I get some more bread? Waiter? Hello?"

Sure, this one could be considered a chick flick. It's set in the early 1800s in England, after all. But it's made by Campion, who's best known for The Piano, so it's real label should actually be "art-house." Regardless, you don't need to be a chick or an art-house geek to enjoy Abbie Cornish's performance.

The film is likely to be fairly admired by English professors and Oscar voters, but mark my words: It is going to become the unequaled favorite movie of homeschoolers in the girls' dormitories of evangelical colleges nationwide.

Here's the thing about interviewing Quentin Tarantino: His need to talk about movies is irrepressible. His insatiable hunger dominates the conversation, and his knowledge of and fascination with the work of other filmmakers are as intense and intimate as his reflections on his own career.

Francis Ford Coppola's latest is by no means as tragically ambitious as Youth Without Youth, thus it makes much less of a mess when it collapses under its own weight as Youth Without Youth does. In fact, what hampers Tetro is not its surfeit of ideas and narrative impenetrability but, rather, its insufficiency of thematic hooks and dramatic content.